Monday, 29 April 2013

The LOST Conspiracy - Part 2

Continued from Part 1...

Numbers
Numerology is a significant part of esoteric/alternative research, especially given the fascination that freemasonry and secret societies have with numbers. Numbers are a central “deux ex machina” to the overarching narrative of Lost. The first episode to focus heavily on the subject was called “Numbers.” It was here that the thematic progression of 4, 8, 15, 16, 23 and 42 was explored. Despite numerous references to these numbers and the specific order, they are not the only examples of number overuse in “Lost.”



In the pilot episode, Jack and Kate discuss counting to five when afraid. Why not ten? Sawyer counts to “five Mississippi” in season two. There are five number panels on the “hatch counter” located in the Dharma “Swan” station and five question marks on the same counter during Mr Eko’s vision. Jack’s tattoos (which are Mathew Fox’s own real tattoos) contain a large ‘5’ beneath a pyramid. In an interview, JJ Abrams, Damon Lindelof and Bryan Burk state that 5 was always in the early script drafts and had no idea what Mathew Fox’s tattoos looked like. The number five appears throughout the show and heavily in the first season finale episodes.

Dharma Station 5 (The Pearl) is a monitoring station designed to observe those carrying out other experiments on the island. The Pearl’s orientation video states “careful observation is the ONLY key to true and complete awareness.” Five is allegedly an important number in freemasonry, the same folk for which “careful observation” and “complete awareness” are something of an obsession.

The numbers 2 and 3 (masonry, Skull & Bones, “322”) appear frequently. The reward for capturing Kate was $23000, The 23rd Psalm is referenced, and 23 is one of the thematic six numbers. The main “Swan” hatch is the 3rd of 6 stations. You can only leave the island on an exact compass bearing of 325 (masonic 32 & 5?). When Ben is dying on the operating table, he says, “It wouldn’t hurt to give me 3 minutes, would it… seeing as how I’ve only got 27 left?” A second season episode is entitled “Three Minutes.” In one of the Dharma Stations is “Room 23” where mind control / subliminal messaging experiments are carried out. The sign on the roadside, to signpost the birth/start of Benjamin Linus’ journey to the island, reads “Portland 32.”

When Juliet is asked how long she has been on the island, she replies, “3 years, 2 months and 28 days.” In her first flashback, Juliet’s sister’s house has an abstract wall painting of the sun with two wavy lines and a large number 6. Benjamin Linus’ Swiss passport expires on April fool’s day, 2013. Daniel Faraday’s equipment used for his time travel experiments needed to be calibrated “to 2.342, oscillating at 11 hertz.” The initial plane crash was Oceanic flight 815 and the subsequent plane to land on the island was Ajira flight 316.

In the third season episode “Enter 77”, several characters discover a Dharma Station called “The Flame.” Here, there is a computer terminal (the initial use of which is to play Chess) which states that you should input “seven/seven”, if there is an incursion by “The Hostiles”. Throughout the episode, the number is referred to as “seven/seven” not “seventy seven”. The station explodes when 7/7 is inputted. Is this a sly reference to the events in London on July 7th 2005 or merely coincidence?

Trauma Based Mind Control
There is a prominent relationship between “Lost” and the trauma based mind control phenomenon. The character of Libby (interestingly the character is a psychologist, but formerly a psychiatric patient!) is witnessed assisting the character of Claire to uncover repressed memories (memories that were hidden by the “The Others”) and makes a claim that will be familiar to anybody with a passing knowledge of the mind control subject. Quote: “Sometimes, when something terrible happens to us, there’s a little switch in your head that flicks on to protect us from having to deal with it. Maybe your memories aren’t gone. Maybe you’re just blocking them.”

Interestingly, most of the characters are established has having “alters” – separate personalities, secrets kept, hidden lives, etc. Many of these facets are introduced via the “flashback” narrative device used in the earlier seasons of the show. At one point the characters of Ana Lucia Cortez and Christian Shephard knowingly use false names during their time together. The character of Kate Austin uses numerous aliases throughout her “flashbacks”. She appears with false names, hair colour and license plate numbers. It is worth noting that this theme has been used in several shows created by “The JJ Brigade”.


The main character of Sidney Bristow in JJ Abram’s earlier hit show “Alias” is an undercover agent who continuously uses “aliases” (hence the name of the show!) Another is the Sci-fi, parallel universe, time travel, mind bender: “Fringe”. The characters are all seen as having parallel universe doppelgangers, particularly the main protagonist, Olivia Dunham, who unwittingly switches lives with her red-haired alter ego during season three of the show.
In Lost, Country music is used a fair amount, particularly Patsy Cline songs in relation to Kate. Alleged mind control victim (and former MK “Presidential Model”) Cathy O’Brien has stated in the past that the country music scene was/is a hotbed of mind control victims and handlers. Kate also refers to herself as “damaged goods”.

Researchers of the practice often refer to triggers (an array of relevant words, images, sounds and symbols) that represent aspects of the process carried out, or actually activate or “top up” a portion of the victim’s “programming”. Disney liberally places these throughout their films, animations and TV shows, and “Lost” is certainly no exception. Here are some examples clearly apparent throughout the show.


Representations of Transformation, Trauma, Journeys or Experiences
In the first season episode, “The Moth”, Charlie Pace’s “journey” through a crevice in a collapsed cave wall is compared to his attempt to kick an addiction to Heroin. The overall narrative is analogous with a Moth cocoon (as in the episode title) – a transformation of sorts. Several of the Dharma hatches have hidden hatches and doors to pass through (a journey from one domain to another), “Once I open this door there’s no turning back.” (Ben to Locke outside Jacob’s cabin), keys also appear in the show (the keys to the guns, the failsafe key for “The Swan” hatch, etc.), Dharma Station 5 is called “The Pearl” (pearls “form and emerge” from a shell), the song played when new recruits arrive at The Dharma Barracks (“I wanna ride on your mystery ship”), “The Black Rock” sailing ship that was transporting slaves and cargo to “the new world”, and the arrival of Desmond’s sailing boat. Aaron’s bedroom has stars and planets above the bed. The refrigerator in Kate’s kitchen has Aaron’s artistic pictures on it. They include: a large orange butterfly, a ladybird, a fish, purple and orange flowers, and a night sky with stars and the moon.


Triggers Relating to Innocence, Fairy Tales and Mythology - often similar to Disney output
The character of Sun wears a “Princess Pink” dress as she is introduced in her first flashback episode and another of her episodes is entitled “Glass Ballerina”, Danielle Rousseau’s music box (revealing a dancing ballerina), the “lullaby” song “Catch a Falling Star” (used to menacing effect later in the final season), and the Dharma Barracks classroom has a large number of butterfly paintings on the back wall. The aforementioned caves contain a water fall, under which is discovered a consignment of girl’s dolls, all boxed, with white ghostly faces. Hurley watches “Xanadu” on the VCR in the Dharma Barracks. “Xanadu” has similar themes to “The Wizard of Oz.”

Confinement and Isolation
The show title “Lost” works on multiple levels. There is an episode entitled “…and found” (as in Lost and Found), another entitled “Abandoned”, Handcuffs feature heavily in early episodes, Kate and Sawyer are locked in Polar Bear “conditioning” cages that give you an electric shock when you incorrectly try to get food. There is also a “well” (water/rabbit hole) that leads to a “donkey wheel” that (when turned) dislodges the island from time and space, Desmond gets trapped down this well in a later episode (trapped down a well!), the survivors put messages in a bottle to throw into the sea, and the song “Beyond the Sea.”

Water
The water/waterfalls motif is recurrent. The caves contain a waterfall. Niagara Falls is seen in the flashback of characters Rose and Bernard. It is also the key moment of their character’s story arcs. Water is crucial to the “baptism/inauguration” of those who become “guardian” of the island – such as Jacob, Jack and Hurley. There is also rejuvenation ritual at The Other’s “Temple” involving the submergence of Sayid’s dying body in a pool of water. Rain also seems to occur at key transitional moments in the overarching story. There has been much written regarding the themes of Rain and Water in esoteric circles. I will leave you to research this subject yourself and draw your own conclusions as to its significance.

Various states of reality – disjointed, fractured and reflected
Quote: “We don’t know why, but going to and coming from the island… some people can get a little confused…the jumps between the present and the future… she eventually couldn’t tell which was which. She had no anchor… something familiar in both times. This is all ‘variables’. It’s random, it’s chaotic. Every equation needs stability, something known. It’s called a ‘Constant’” (Daniel Faraday)

Desmond begins to jump back and forth through time in the episode “The Constant” causing him to have a fractured perception of reality and question his sanity. His consciousness is displaced in time, but not his physicality. He experiences a similar effect toward the end of the series when he witnesses and influences the constructed “afterlife” scenarios being played out by characters of the series.

“Tabula Rasa” (meaning “blank slate”) is a season one episode title, Mittelos Biosciences – Mittelos is an anagram of “lost time”, the Dharma “orientation” films (designed to “programme” recruits who work in the Dharma stations), Jack describes punching the buttons in the hatch as “a mind game”- an experiment designed simply to see if someone will do it, and Charlie’s Tattoo – “Living is easy with eyes closed” (as in “Strawberry Fields Forever”) As the submarine departs the island, the last thing that the Captain says over the intercom is, “see you on the other side.” This phrase crops up a lot in popular culture – it is something of a slogan when travelling through the portal on the television show “Stargate” and also often relates to the “dark side of the moon” paradigm (Pink Floyd/Wizard of Oz, etc.) The character of Charlotte Staples Lewis was named after C. S. Lewis (creator of the “Narnia” books.) Whenever one passes through a portal to Narnia in the novels, there is no way of knowing in what time period you will arrive. Charlotte dies as a result of the fractured “time effect” on the island.

Many of the characters believe they are cursed, going mad, hallucinating and seeing dead people. The heart of Lost is the creation of Illusions. Of what is perceived to be real and what is not. Quote: “All of this is not what you think it is!” (Richard Alpert)


Secrets & Trauma
The notion of “keeping the secret” runs parallel with alleged mind control victims. Celebrities who are claimed to be “programmed” are sometimes snapped on camera with their index finger to their lips – as in “shush”, “keep quiet”. One or two also have “shush” tattoos. When Mr Eko has a hallucination showing figures from his traumatic past, he witnesses an altar (alter?) boy making a “shushing” gesture to him. Several of the characters witness a vision of the character of Walt making exactly the same gesture, whilst dripping with water.
The theme here is also one of child indoctrination. Research shows that almost all alleged mind control programming begins at a very early age, usually running concurrent with a traumatic event/continuing events in their lives. The pre-adolescent characters of Lost don’t come out of the experience well. The character of Walt is abducted (and experimented on) by the islands populace – known as “The Others”. This group are also responsible for abducting the children who survived the crash of the plane’s tail section as well as Danielle Rousseau’s baby daughter, Alex. Rousseau, in turn, kidnaps Claire’s baby boy, Aaron. When Claire subsequently sees her dead father in the jungle, she abandons Aaron (all alone) to follow her father. There is also an episode entitled “Raised by Another.”

The leader of “The Others”, Benjamin Linus, appears to have had a traumatic upbringing also. His mother dies immediately after giving birth to him. As a result, his father states that Ben “killed his mother”. In flashback, he is shown to have had an abusive upbringing at the hands of his father. His only friend is a young girl, whom he shares “wooden dolls” with – Pinocchio anyone?! Ben ultimately ends up murdering his own father using nerve gas and joins “The Others”. When Ben first becomes an “other”, Richard Alpert says that he must “sacrifice his innocence” and will “never be the same again”. Ben has his memories erased and cannot remember the events that triggered and proceeded his initiation.

I have written at length, in the past, detailing Disney’s obsession with the “fractured family” narrative device. Many of the “Lost” characters have similarly traumatic childhoods with dysfunctional family/parental relationships. There are too many examples to list here, however one most notable example is that of the character, John Locke. Abandoned by his mother and no clue as to who is father is, he eventually learns the truth only to be duped into donating a kidney to his conman father. His father then has nothing more to do with him. Later in the series, his “doppelganger” (the “Man in Black”!) describes Locke as “weak, pathetic and irrevocably broken”. Stranger still, Jacob (guardian of the island, with numerous religious undertones) is revealed to have been responsible for summoning those who survived the plane crash to the island as potential candidates to replace him. When asked why, he replies, “You were all flawed.”

Many of these themes will ring true for those who study, or claim to have suffered at the hands of, state sponsored trauma based mind control.

Continued in Part 3...
Part 3 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-3.html
Part 1 - http://thetruthseekersguide.blogspot.co.uk/2013/04/the-lost-conspiracy-part-1.html


Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-one/paperback/product-23209429.html
Science Fiction and the Hidden Global Agenda - Volume Two - http://www.lulu.com/shop/carl-james/science-fiction-and-the-hidden-global-agenda-2016-edition-volume-two/paperback/product-23209433.html
What Really Happened at the London 2012 Olympics - http://www.lulu.com/shop/carl-james/what-really-happened-at-the-london-2012-olympics/paperback/product-23221527.html

2 comments:

Robert said...

You had the right idea, but there was a lot of mystery-fiction & conspiracy-history background you needed to get the right answer. See http://users.bestweb.net/~robgood/teach

The Truth Seeker's Guide said...

Robert,
Many thanks for your input. I have significantly broadened my understanding of Lost & Disney since writing these articles two years ago - something which is still an on-going research project for me. I know of several researchers who believe that they succeeded in cracking the Lost "code". I will do some in-depth reading of your material and see where it sits in relation to the others.
On the subject of Disney themes and tropes which appear to reflect the "trauma-based mind control phenomenon", I have had contact with people who hold or held not-insignificant positions within Disney and they have confirmed to me that these specific themes are intentionally inserted in much of the generic media/Hollywood output of Disney.
However, what is interesting is that they are cautious about drawing any conclusions on the reasons why. They can prove it is done on purpose but vary their perspectives on the intent.
In my research, I tend to concentrate on proving that something is there - that it exists and that its existence can be quantifiably measured and documented. As I did in these articles.
I am not afraid to theorise about intent, but I also tend to stop short of addressing the "why" because it is often harder to measure and document.
On the other hand, if the trail is solid, I will follow the evidence toward it's natural conclusion. In this regard, I look forward to reading your research and hopefully following it up on this website.
All the best!
Carl.